home
Proper nutrition
Amirkhan "Hayat" in the context of Russian and Tatar culture. "Comparative analysis of the images of the main characters in the works of Turgenev" Asya "and F

Amirkhan "Hayat" in the context of Russian and Tatar culture. "Comparative analysis of the images of the main characters in the works of Turgenev" Asya "and F

26.06.2020

Amirkhan F. Khayat: A Tale / F. Amirkhan. - Kazan. Tatars. book. publishing house, 1985. - 227 p.

Ibragimov G. Selected Works. V.1. (in Tatar language) / G. Ibragimov. - Kazan. 1957. - 527 p.

Ibragimov G. Young hearts. Novel and stories / G. Ibragimov. - Kazan. Tatar book. publishing house, 1980. - 240 p.

Ibrahimov G. Asarlәr: Sigez tomda / G. Ibrahimov. - Kazan. Tatarstan kitap nәshriyati, V.2: Yash yөrәklәr. Kazak kyzy. - 1975. - 476 p.

Tolstoy L.N. Full coll. cit.: In 90 volumes (Anniversary edition) / L.N. Tolstoy. – M.: 1928-1958.

Tolstoy L.N. Sobr. cit.: In 22 volumes / L.N. Tolstoy. – M.: 1964.

Turgenev I.S. Full coll. cit.: In 12 volumes / I.S. Turgenev. – M.: 1958.

Әmirkhan F. аsаrlәr / F.Әmirkhan. - Kazan: Magarif, 2002. - 319 b.

Theoretical literature

Amineva V.R. Types of dialogical relations between national literatures (based on the works of Russian writers of the second half of the 19th century and Tatar prose writers of the first third of the 20th century) / V.R. Amineva. - Kazan. Kazan. state un-t, 2010. - 476 p.

Bakhtin M.M. Questions of literature and aesthetics / M.M. Bakhtin. – M.: 1975. – 502 p.

Introduction to literary criticism / Introduction to literary criticism. - M.: Higher School, 2004. - 680 p.

Gachev G.D. National images of the world: a course of lectures / G.D. Gachev. - M.: Academy, 1998.-430 p.

Gachev G.D. National images of the world. Eurasia: space of a nomad, farmer and highlander / G.D. Gachev. - M.: 1999.-367s.

Dima A. Principles of Comparative Literature / A. Dima. – M.: 1977.

Dyurishin D. The theory of comparative study of literature / D. Dyurishin. - M.: 1979. – 320 s.

Esin A.B. Principles and methods of analysis of a literary work / A.B. Esin. – M.: Nauka, 2003. – 246 p.

Esin A.B. Psychologism of Russian classical literature.: Book. for the teacher / A.B. Esin. - M.: Enlightenment, 1988.-176 p.

Zhirmunsky V.M. Problems of Comparative Study of Literature / V.M. Zhirmunsky. – L.: 1979. – 495 p.

Zahidullina D.F. Dөnya surәte үzgәrү: XX yөz bashy Tatars AD. false. әsәrlәr / D. F. Zaһidullina.-Kazan. Magarif, 2006.-189 b.

Ivanov V.V. Selected works on semiotics and cultural history / Vyach. Sun. Ivanov; Moscow state un-t im. M.V. Lomonosov, Institute of Theory and History of World Culture.-M.: Languages of Slavic Culture, 2004.-(Language. Semiotics. Culture).T. 3: Comparative literature; world literature; Poetry.-2004.-814 p.

Konrad N.I. To the question of literary connections / N.I. Konrad // Konrad N.I. West and East. - M.: 1966. – 496 p.

Lotman Yu.M. Articles on the typology of culture / Yu.M. Lotman. - Tartu. 1992. - 479 p.

Neupokoeva I.G. History of world literature. Problems of systemic and comparative analysis / I.G. Neupokoeva. - M.: 1976. – 359 p.

Nigmatullina Yu.G. National originality of the aesthetic ideal / Yu.G. Nigmatullina. - Kazan. Publishing House of KSU, 1970. - 210 p.

Nigmatullina Yu.G. Types of cultures and civilizations in the historical development of Tatar and Russian literature / Yu.G. Nigmatullina. - Kazan. Fan, 1997. - 192p.

Sayapova A.M. Dardmand and the problem of symbolism in Tatar literature / A.M. Sayapova. - Kazan. Publishing house "Alma-Lit", 2006. - 246s.

Comparative and Contrastive Literary Studies: Reader / Compiled by: V.R. Amineva, M. I. Ibragimov, A. Z. Khabibullina. - Kazan. Publishing house "DAS", 2001. - 390 p.

Urnov D.M. National Specificity of Literature as a Subject of Historical Poetics / D.M. Urnov // Historical Poetics: Results and Perspectives of Study. - M.: Nauka, 1986. - S.168-187

Scientific and critical literature

Ayupov S. M. Problems of the poetics of Turgenev the novelist: Proc. allowance / S.M.Ayupov.-Ufa. BSU, 1998.-163p.

Bilinkis Ya.S. On the work of LN Tolstoy. / Ya.S. Bilinskis. – L.: 1959. – 414 p.

Bocharov S.G. Plots of Russian literature. / S.G. Bocharov. - M.: 1999. - 191 p.

Bulanov A. M. "Mind" and "heart" in Russian classics. / A.M. Bulanov. - Saratov. 1992. - p.48

Bulanov A. M. Artistic phenomenology of shame in the novel by Dostoevsky and Tolstoy ("The Idiot" and "Anna Karenina") // Russian Literature. / A.M. Bulanov. - 2001. No. 1. - P. 93-106

Bulanov A.M. Philosophical and ethical searches in Russian literature of the second half of the 19th century ("Mind" and "heart" in the works of F.M. Dostoevsky and L.N. Tolstoy): Proc. special course allowance. / A.M. Bulanov. - Volgograd. VGPI, 1991. - 118 p.

Bunin I. Liberation of Tolstoy. / I. Bunin. – Paris. 1937. - 413 p.

Byaly G.A. "Eternal" themes in Dostoevsky and L. Tolstoy ("The Idiot" and "Anna Karenina") // Russian realism of the late XIX century./ G.A. Byaly. - L.: 1973. - 168s.

Valeev N. M. Harmony of cultures: Fav. tr. / Nail Valeev; Acad. Sciences Rep. Tatarstan.-Kazan. Feng, 2001.-327p.

Vilyunas VK The main problems of the psychological theory of emotions // Psychology of emotions. Texts / Ed. V. K. Vilyunas, Yu. B. Gippenreiter. / V.K.Vilyunas. – M.: 1984. S. 3-28.

Hegel G. Phenomenology of Spirit. / G. Hegel. – M.: 2000. – 495 p.

Ginzburg L. About psychological prose. / L. Ginzbuog. - L.: 1977. - 463 p.

Ginzburg L. Ya. About a literary hero. / L. Ginzburg. - L.: 1979. - 221 p.

Davletshin G.M. Essays on the history of the spiritual culture of the ancestors of the Tatar people (origins, formation and development). / G.M. Davletshin. - Kazan. Tatars. Book. Publishing house, 2004. - 431p.

Izard K. Psychology of emotions. / K.Izard. - St. Petersburg: 2000. - 455 p.

Izard K. Human emotions. / K.Izard. – M.: 1980. – 954 p.

Kadyrov O.Kh. Romanticism of Galimdzhan Ibragimov: (Creativity and Aesthetics): Abstract of the thesis. cand. philol. Sciences / O.Kh. Kadyrov - Kazan. 1967. - 31s.

Kasyan N.I. The problem of freedom and necessity in Leo Tolstoy's novel "Anna Karenina" and its interpretation by Russian scientists. Dis. . cand. Phil. Sciences. / N.I. Kasyan. - Eagle. 2002. - p. 163

Kurlyandskaya G.B. The moral ideal of L.N. Tolstoy and F.M. Dostoevsky. / G.B. Kurlyandskaya - M .: Education, 1988. - 256 p.

Kurlyandskaya G.B. The artistic method of Turgenev the novelist / G.B. Kurlyandskaya.-Tula. Approx. book. publishing house, 1972.-344 p.

Markovich V.M. I.S. Turgenev and the Russian realistic novel of the 19th century (30-50s) / V.M. Markovich.-L.: Publishing House of Leningrad State University, 1982.-208 p.

Markovich V.M. Man in the novels of I.S. Turgenev / V.M. Markovich. - Publishing house of Leningrad State University. A.A. Zhdanova. - Leningrad. 1987. - 254p.

Makhmudov A.G. Problems of the beautiful in the work of F. Amirkhan / A.G. Makhmudov // The ideological and aesthetic heritage of Fatih Amirkhan. Interuniversity collection of scientific papers. - Kazan. 2001. - 204p.

Leontiev A. N. Needs, motives and emotions // Psychology of emotions. Texts / Ed. V. K. Vilyunas, Yu. B. Gippenreiter. / A.N.Leontiev. - M.: 1984. - 304 p.

Leontiev K.N. Analysis, style and trend. About the novels Tolstoy. Russian messenger. / K.N.Leontiev. - 1890. No. 6-8.

Nigmatullina Yu.G. I.S. Turgenev and Tatar literature of the early XX century / Yu.G. Nigmatullina. - Kazan. 1961. - 60s.

Povarisov S. The system of figurative means in the fiction of G. Ibragimov / S. Povarisov. - Ufa. 1980. - 88 p.

Sadekova A.Kh. Folklore in the aesthetics of Galimdzhan Ibragimov / A.Kh.Sadekova.-Kazan. IYALI, 1995.-103p.

Saiganov A.D. At the origins of the aesthetics of realism: Aesthetics of F. Amirkhan and its place in the development of the Tatars. realist. lit. / A.D. Saiganov. - Kazan. Tatars. book. publishing house, 1982. - 167p.

Salim A. Turgenev - artist, thinker / A. Salim. - M.: Sovremennik, 1983. - 224 p.

Salyakhova 3.G. Naturalism in the work of Galimdzhan Ibragimov: author. Ph.D. in Philology / Z.G.Salyakhova. - Kazan. 2004. - 23s.

Solovyov V.S. Works: In 2 volumes / V.S.Soloviev. - T. 1. M .: 1988. - 626 p.

Strakhov N.N. Literary criticism. Sat. articles. / N.N.strakhov. - St. Petersburg: 2000. - 459 p.

Florovsky G. Ways of Russian Theology. / G. Florovsky. - Kyiv. 1991. - 231p.

Khasanov M.Kh. Galimjan Ibragimov. Monograph. / M.Kh.Khasanov. - Kazan. 1977. - 432 p.

Shklovsky V.B. Lev Tolstoy. / V.B.Shklovsky. – M.: 1967. – 656 p.

Chuprina I.V. Moral and philosophical searches of L. Tolstoy in the 60s and 70s. / I.V. Chuprina. - Saratov. 1974. - 228 p.

Eichenbaum B. Leo Tolstoy: the seventies. / B.Eikhenbaum L.: Artist. lit., 1974. - 359 p.

Reference literature

Ozhegov S.I., Shvedova N.Yu. Explanatory dictionary of the Russian language: 80,000 words and phraseological expressions / S.I. Ozhegov, N.Yu. Shvedova. – M.: 1999. – 944 p.

Modern foreign literary criticism. Encyclopedic reference book / Modern foreign literary criticism. - M.: 1996. – 202 p.

| | | | | 6 |

Today we will tell you who Fatih Amirkhan is. His biography will be discussed in detail below. We are talking about a writer, a caustic and ironic publicist, whose pen did not spare the most influential and respected Muslims. He was also a wise liberal thinker.

Biography

Fatih Amirkhan managed to create such delightful prose works in the Tatar language that he was called the most penetrating lyricist of his people. He was born in 1886, on January 1, in the Novotatar settlement. His father was the imam of the Iske-Tash mosque. His family went back to the Murzas of the Kazan Khanate. The childhood of our hero passed under the reading of the Koran, as well as the good instructions of his mother - a soft-hearted, enlightened woman. Fatih Amirkhan studied at the parish mekteb for two years. In 1895, at the insistence of his father, he moved to the madrasah "Muhammadiya" - the largest school in Kazan. The teacher and religious figure G. Baroody led this institution. Our hero spent ten years in this educational institution.

Education

Fatih Amirkhan received an excellent theological education, as well as excellent knowledge of the literature of the East and its history. In addition, he acquired the skills of the Russian language and discovered a number of secular sciences. Our hero began to take an interest in Russian culture. He showed curiosity about both Russian and European foundations. The future writer began to ask questions about the main reasons for the backwardness of Eastern civilization. By nature, being a leader, but at the same time an enterprising person, he rallied around himself a group of people who also felt that the framework of a religious school was too narrow for them.

Ittihad

Fatih Amirkhan in 1901, together with his friends, became the organizer of the secret circle "Unity". In his native language, this organization was called "Ittihad". The circle aimed at improving the living and material conditions of students. In addition to holding meetings, publishing a handwritten journal, in 1903 the association staged a national theatrical production - the play "The Unfortunate Young Man". This event was one of the first of its kind. Our hero continuously tried to make up for the lack of knowledge. As a result, the future writer got a tutor. They became S. N. Gassar, a Social Democrat. Frequent communication with this man, as well as with Kh. Yamashev, aroused in our hero a keen interest in political life.

Activity

Fatih Amirkhan during the period of the Russian revolution plunged headlong into the organization of the Reform student movement. He participated in all congresses of Muslims in Russia. In 1906, our hero leaves his home. Fearing persecution, he leaves for Moscow. Here he works on the journal "Raising Children". The debut journalistic experiences of our hero appear on the pages of this publication. Soon there was a return of Fatih Amirkhan. He visited Kazan in 1907. He managed to become the leader of the youth again. However, tragedy struck. In 1907, on August 15, our hero became ill. He ended up in the hospital. The diagnosis is paralysis. The illness confined the writer to a wheelchair. Only character, will, support of parents and friends allowed him to return to creative and social activities. His old dream came true - the first issue of the publication "El-Islah" was published. Perhaps it was the most daring and uncompromising newspaper of that time.

Creation

Above, we have already told how Fatih Amirkhan became a publicist. His stories began to appear in the newspaper mentioned above. The first of them - "Dream on the eve of the holiday" - was published in October 1907. This work is about a secular national holiday, where social and interethnic harmony reigns. A number of literary creations of our hero (in particular, the story "Fathulla Khazret", published in 1909) are characterized by merciless ridicule of the clergy, which is combined with the creation of an artistic utopia about the happy and joyful life of the Tatars, in which there is a place for culture, technical progress, freedom choice of faith.

Huge popularity was brought to the writer by works that are devoted to the spiritual quest of the Muslim Tatar youth in the conditions of the revolutionary and national movement. We should separately mention the story "Hayat", the novel "At the Crossroads", as well as the drama "Unequal". These works were mostly created on the basis of life facts and personal impressions of the author. In them, he revealed the world of doubting, reflective and restless youth who are not ready, even in the name of a tempting dream, to break forever with faith, traditions and their people. Thus, in the soul of our hero there was an evolution towards national and liberal values, the idea of consent and public peace. The writer did not accept the revolution. He was looking for beauty and harmony in everything, therefore, with pain and indignation, he wrote about the rampant crime, devastation, undeserved privileges, neglected monuments, and the immoral behavior of leaders.

Fattakhova Alisa Almasovna

The object of the study is the story of Turgenev "Asya" and F. Amirkhan "Hayat"

Target: To compare the images of the main characters of "Asia" by Turgenev and "Hayat" by F. Amirkhan in the context of Russian and Tatar culture.

Tasks: 1. Compare the images of the Turgenev girl "Asi" with the heroine of F. Amirkhan's story "Hayat"; 2. Analyze the role of the landscape in revealing the images of the heroines.

The relevance of this work.

Turgenev belonged to the galaxy of Russian writers of the second half of the 19th century. In his work, the realistic traditions of Pushkin, Lermontov, Gogol continue to develop, enriched with new content. Turgenev possessed an amazing talent - to combine the so-called topic of the day with generalizations of the broadest, truly universal order and to give them an artistically perfect form and aesthetic persuasiveness. But the philosophical basis of Turgenev's work to the present, unfortunately, has not received due attention from researchers.

Thus, 1) Hayat, despite being close to the Turgenev girls, still differs from them in many ways, that Hayat is a representative of Islamic culture and the corresponding way of life. 2) An analysis of spatio-temporal relations in the stories "Asya" and "Hayat" allows us to conclude that Turgenev's spatio-temporal characteristics help to reveal the inner world of the heroine, Amirkhan's - they help to understand the heroine's place in two conjugated national-cultural worlds .

In our opinion, if we consider the history of Tatar literature on the subject of gender relations, then the story of Fatih Amirkhan would be one of the central ones there. It is in this image that we see a fundamental change in Tatar society. A society that has entered a new stage and from which it is no longer possible to curtail.

This is the main result of the story - to show the beginning of a new era, the era of the twentieth century.

Download:

Preview:

“Comparative analysis of the images of the main characters in the works of Turgenev “Asya” and F. Amirkhan “Hayat” in the context of Russian and Tatar culture”

Fattakhova Alisa

MBOU gymnasium No. 20, 8th grade,

Sovetsky district, city of Kazan

Scientific adviser: Gizatullina A.R.

Kazan 2014

Introduction. Goals and objectives of the work
Main part

a) Comparison of the image of the Turgenev girl with the heroine of the story

F. Amirkhan

b) Analysis of the landscape, its role and function in the disclosure

images of heroines

c) Space and time in works

III. Conclusion

IV. List of used literature

V Applications

Introduction

The object of the study is the story of Turgenev "Asya" and F. Amirkhan "Hayat"

Target:

To compare the images of the main characters of "Asia" by Turgenev and "Hayat" by F. Amirkhan in the context of Russian Tatar culture

Tasks:

Compare the image of the Turgenev girl "Asi" with the heroine of F. Amirkhan's story "Hayat";
Analyze the role of the landscape in revealing the images of the heroines.

The relevance of this work.

The theme of first love, sounding in the stories of I. Turgenev and F. Amirkhan, attracts special attention, setting up a sincere conversation about the most subtle human feelings and experiences.

Turgenev was convinced that love is associated with the highest upsurge of feelings. The image of love was an important creative technique for him: it was immediately revealed whether the hero had “nature”, that is, the richness of spiritual life, strength of character, or not, and instead of it, “one head”.

First, let's compare the female images in Turgenev's stories "Asya", "First Love", "Outer Waters", determine the typological similarity of the heroines, as a result of which a generalized image of the so-called "Turgenev's girl" is formed.

The heroines of Turgenev's stories "about love" are distinguished by their character, age, social origin, and nationality. But there is something in the appearance of girls that makes them related and allows us to talk about a special type of Turgenev's heroine.

The heroine of Turgenev is a young girl, a young, beautiful creature, pure and refined. The face is charming, “everything in it is so ... subtle, smart and sweet”, like Zinaida from the story “First Love”, she has special eyes - large, looking “straight, bright and bold”, like Asya from the story of the same name, or "magnificent, triumphant, eyes" of Gemma from "Outer Waters", "dark gray, with a black border around the pupils." One of the key words in the description of Turgenev's heroine is the word "tender": Zinaida has "tender, calm breasts", Gemma has delicate facial skin - "completely ivory or milky amber", Asya's gaze is "deep and tender". The portraits of the heroines are bright and poetic. Spiritual grace, mind shine through in their every feature and movement.

Turgenev was not the only one who portrays the fate of a contemporary girl. But in the history of Tatar literature, F. Amirkhan for the first time introduces the image of a Tatar girl living at a turning point in history: at the turn of two centuries and two cultures.

The romantic story "Khayat" ("Hayat", 1911) shows the spiritual drama of a Tatar girl, who has been introduced to Russian culture since childhood. The main attention of the author is aimed at revealing the inner world of the heroine, who is forced to live according to the canons of patriarchal morality. Traditional for Tatar literature of the late 19th - early 20th centuries. the conflict of fathers and children is embodied by the author in the spirit of romanticism. The aesthetics of beauty, deep lyricism, the cult of nature and love dominate in the story; successfully used various forms of psychological analysis: portraits, internal monologues, description of feelings, landscape.

The fate of the Tatar girl in the story "Hayat" is dramatic: her simple, natural human feelings are opposed to the old religious-feudal morality, the reactionary canons of Islam, which drowned out the natural aspirations in the Tatar woman, depriving her of the right to love.

Comparison of the image of the Turgenev girl with the heroine of the story by F. Amirkhan.

Since the beginning of the 19th century, literature and other forms of art have increasingly shown interest in depicting the inner world of a person, the life of his soul. One of the recognized artists-psychologists is I. S. Turgenev. P. V. Annenkov said that Turgenev is a psychologist, but secret, Turgenev’s study of psychology “is always hidden in the bowels of the work and develops with it, like a red thread put into a fabric.” Ivan Sergeevich himself characterized his “psychological method” as follows: “The psychologist must disappear in the artist, just as a skeleton disappears from the eyes under a living and warm body, to which he served as a strong but invisible support”; “The poet must be a psychologist, but secret: he must know and feel the roots of phenomena, but he represents only the very phenomena.” For Turgenev, the main and almost the only goal is the image of the inner life of a person. The writer helps readers to penetrate the secrets of the soul of their characters in many ways.

Showing, for example, Asya, he selects such details of the portrait, the behavior of the heroine, the environment in which he places her, which, as it were, hinder certain movements of the girl’s soul. Psychological analysis appears here as an external expression of feelings, experiences, a gradual change in the state of the inner world of a girl who has fallen in love - in facial expressions, gestures, in ever new nuances of the heroine's portrait sketches, attention to the intonations of her voice.

Like Turgenev, the Tatar writer draws attention to the portrait of the heroine, describing in detail the heroine's eyes shining from under long eyelashes, comparing them with "magic yachts". In the portrait of a Tatar girl, the writer, like Turgenev, uses the epithet “gentle”: Hayat has a “delicate white face”. Even the color of the silk dress is the same as that of the heroines of the Russian writer: they like to dress in pink and white.

According to the literary critic Yu. Nigmatullina, “in the portrait of Khayat, the traditions of Russian literature in creating a realistic psychologized portrait are combined with the traditions of national folklore.” The description of the beauty of Hayat is given in the spirit of oriental tales: “she is compared with a winged angel (fereshte)”; “Hayat looks like the daughter of a fabulous padishah, as in oriental tales: she has black eyes, long black eyelashes, black braids below the waist,” etc.

The similarity of the heroines under consideration is that they are all direct, simple, the secret of their charm lies in the fact that they are pure, sincere, not capable of hypocrisy, falsehood. Their naturalness attracts, there is no artificiality in them, therefore, female images in the works of Turgenev and Amirkhan are associated with images of nature. Turgenev correlate with the image of spring, spring nature, and their love - with a spring thunderstorm.

Analysis of the landscape, its role and function in the disclosure in the disclosure of the images of the heroines.

In addition to conveying the feelings and experiences of the characters, Turgenev's landscapes also have a philosophical sound. Pictures of nature help the writer to pose a number of important philosophical problems: the meaning of human life, life and death, love, etc.

The psychological landscape was first introduced into Tatar realistic prose by F. Amirkhan. Before him, landscape paintings were only the background against which events unfolded. He continues the traditions of Turgenev: the experiences and feelings of the heroine are revealed through pictures of nature. Amirkhan’s description of the girl is accompanied by an image of spring, awakening nature: “The light rain that an hour ago passed over the city beat down the dust, refreshed the hot air, which made the day even more beautiful. The warm spring wind from the west blew so quietly and calmly that it seemed to breathe life into everything living and inanimate and carried with it the smells of a renewed, rejuvenated nature.

The spring flowering of nature is associated with the youth of the heroine, her inner world, thirsty for love. The image of youth - spring is contrasted in the story with the image of a winter landscape, the howling of a blizzard, bad weather, which in the work becomes a symbol of the old world:

“The wind outside the window now whistled piercingly, then roared deafeningly. Then he began to howl like a wolf, howl like an evil spirit; and then he whistled again, and howled, and roared ... ”In describing the pictures of nature, Amirkhan also uses the traditions of national Tatar folklore (traditional images of a nightingale, moth, flowers).

All the works under consideration are united by one theme - the theme of love. The story of first love, all-consuming and pure, underlies the plot of all works that are permeated with a mood of light sadness. “And happiness was so possible!” - these words, following Pushkin's Tatyana, could be repeated by both Turgenev's heroines and the heroine of Amirkhan's story "Hayat". Why did the happiness of Asya and Hayat not take place?

“My wings have grown, but there is nowhere to fly,” says Asya. Wings grew because she fell in love, fell in love with N.N with all the ardor of first love”, “Asya fights for her love: she makes an appointment, confesses her feelings. But N.N. is not ready to answer her feelings. Love comes to the hero too late, when nothing can be changed”; The heroine of Amirkhan, like Asya, is ready to fly with happiness. However, it is not easy to break the bans imposed for centuries. Khayat pushes away his happiness with his own hands, medieval prejudices turn out to be stronger than love,” etc.

Hayat, despite being close to the Turgenev girls, still differs from them in many ways, that Hayat is a representative of Islamic culture and the corresponding way of life. The living space of "Hayat" consists of two different spatial worlds - anthropological and religious (Islamic) morality, Hayat represents the entire living space divided into dwelling in heaven and hell. This idea turned out to be dominant in her relationship with her loved one: “The image of affectionate Michael, who so recently warmed her heart, disappeared and the appearance of the kafir Michael appeared before her. The new image was terrible and cold; near him, she saw hell and the servants of hell with their instruments of reprisal against the infidels ... ". Hayat broke up with her lover.

Space and time in works.

Hayat is certainly a respectable Muslim woman. But unlike most of her peers, she lives in a world of two cultures: Tatar and Russian. The space of Tatar culture is closed, the role of the organizing principle in it is played by customs and rules. The world of Hayat is closed, limited by the boundaries of his room, at home: “This gloomy silence of the rooms, the monotonous life of their inhabitants who went to bed from ten o’clock in the evening, the ugly Bibi, her dirty, torn pillow - all this surrounded Hayat, existed next to life, everything was utterly dull, dreary, meaningless. Time, like space, is closed in the story of Hayat. The monotony of time is expressed with the help of lexical forms “re-read more than once…”, “monotonously”, “meaninglessly…”. The peculiar organization of space and time creates a sense of the isolation of the Muslim-Tatar world in Amirkhan's story. The space of Russian culture in the story is open. The friendship of Khayat with a Russian girl, communication with Russian youth, the study of the Russian language and literature, interest in Russian culture breaks the isolation of the spatial world of Khayat. But still, she could not completely overcome it. The heroine Amirkhana is in the field of the Tatar-Russian cultural dialogue, which determines her inner world, its inconsistency, the opposition of soul and heart: the heart does not recognize national differences, but the soul of Khayat is captivated by the ideas and feelings instilled in her by her upbringing in the family. Throughout the story, the heroine's soul and heart struggle. In the end, Hayat remains in the space of his Tatar-Muslim culture. The life of a Tatar girl turns out to be limited by the framework of her native culture, her soul could not overcome the routine, so the wonderful feeling of love, born in the soul of a young girl, dies. Hayat cannot realize the inner potential of her personality, she agrees to marry without love for a man whom she has never seen. The image of the psychological world of Amirkhan's heroine - Khayat - is built through the following spatio-temporal model (see appendices).

The spatial world of Asya is also complex, due to her past and present, peasant origin on the one hand, and noble education, on the other. Asya's mother, a peasant woman, raised her daughter in strictness; after the death of her mother, she was taken to the master's house. The father, not daring to openly recognize his daughter, said that he took her "to feed." Asya, who received a noble upbringing, nevertheless did not acquire noble status. She was not a legitimate daughter, her fate depended entirely on the mood of her father. The social role of a peasant woman was taken away from her, but the noble role was not appropriated. On the one hand, she felt a spiritual kinship with the peasants, later, abroad - "with the people of the lower circle", but they did not recognize her as their own. On the other hand, in the nobility, she was also not considered one of her own (for example, in a boarding house), pointing out to her her origin. Asya wanted to “make the whole world forget her origin; she was ashamed of her mother, and ashamed of her shame, and proud of her.” This explains the inconsistency, complexity, self-doubt and strange behavior of the heroine (see appendices).

The heroine of the story is an open, proud, passionate girl, striking with her unusual appearance, spontaneity and nobility..

She seems strange and unnatural precisely because she does not like the ordinary life of people in her circle. She dreams of an active, exalted and noble life. Her attention is attracted by simple people, she, apparently, sympathizes and at the same time envies them. So, watching the crowd of pilgrims, she remarks: “I wish I could go with them". She understands the life of ordinary people as a feat: “Go somewhere to pray, to a difficult feat". She doesn't want her life to be wasted. But she feels how difficult it is to achieve this.

In Asa, the desire to be happy was combined with the desire to fulfill the high duty of a person. She dreams of a feat, and of connecting her fate with a person who would help her accomplish it.

Most meetings take place in open space, in the bosom of nature. Mountains, valleys, the powerful flow of rivers symbolize the free, unrestrained development of Asya's feelings.

The last meeting of N.N. and Asya takes place in a small, rather dark room, in the house of the widow of the burgomaster, Frau Louise. The closeness of the space in which the last date takes place already outlines the sad ending of their relationship.

conclusions

Thus, the analysis of spatio-temporal relations in the stories "Asya" and "Hayat" allows us to conclude that Turgenev's spatio-temporal characteristics help to reveal the inner world of the heroine, Amirkhan's - they help to understand the heroine's place in two conjugated national-cultural worlds.

The image of Khayat is closer to Russian women. This shows the “Westernism” of F. Amirkhan. The era that came after the first Russian revolution gave rise to this type of women. They are not so much liberated, not so much educated, they are already emancipated.

This is the main result of the story - to show the beginning of a new era, the era of the twentieth century.

When projecting the ideas of the poem onto the plot of Turgenev's story, it is confirmed that the union with Asya would be tantamount to a union with nature itself, which dearly loves and kills. Such is the fate of anyone who wants to connect with nature. But "All that threatens death, for the mortal heart conceals inexplicable pleasures, immortality, perhaps a pledge." But Turgenev's hero, the hero of modern times, refuses such a fatal union, and then the all-powerful laws of life and fate block his way back. The hero remains unharmed... to slowly lean towards his own sunset.

Let us recall that two aspects of being are united in Asa: the all-powerful and mysterious, the elemental power of love, the “mild smile of withering” of Russian nature. This is the face of spiritualized nature, which has acquired an immortal soul and therefore suffers forever.

List of used literature

Amirkhan F. Favorites. Translation by G. Khantemirova. - M.: Fiction, 1975. - 320 p.
Klimovich L. Creativity of F. Amirkhan // Amirkhan F. Favorites. Translation by G. Khantemirova. - M.: Fiction, 1975. - S. 5-18.
“This, albeit ephemeral, but the achieved unity of the earthly (corporeal) and heavenly (spiritual), finite and eternal, man and the Universe” ‒ Nedzvetsky V.A. Love - cross - duty ("Asya" and other stories of the 50s) //Nedzvetsky V.A., Pustovoit P.G., Poltavets E.Yu.I.S. Turgenev. "Notes of a hunter", "Asya", and other stories of the 50s, "Fathers and Sons". M., Moscow State University, 1998. S. 25
Kheteshi I. About the construction of the story by I.S. Turgenev "Asya" // From Pushkin to Bely. Problems of the Poetics of Russian Realism in the 19th – Early 20th Centuries. SPb., 1992. S. 141-142.
Notes of a rifle hunter of the Orenburg province. S. Ah. Moscow. 1852 (letter to one of the publishers of Sovremennik // I.S. Turgenev complete works and letters in 28 volumes. V.5. M., 1963. P. 414.

Applications

Rp - Russian space; TP - Tatar space.

F.Z.Amirkhan

I.S. Turgenev

PHILOLOGY AND CULTURE. PHILOLOGY AND CULTURE. 2012. №2(28)

UDC 81 "37; 81" 25

TRANSLATION OF EVALUATION VOCABULARY (BY THE MATERIAL OF F.AMIRKHAN'S NOVEL "HAYAT")

Based on F. Amirkhan's story "Hayat" and its translation into Russian, the article examines the features of the translation of evaluative vocabulary, identifies the direction and nature of translation transformations due to both linguistic and extralinguistic factors, and shows ways to compensate for the meaning components lost during translation.

Key words: translation, evaluative vocabulary, F. Amirkhan.

In this study, lexemes with an estimated value, extracted by the method of continuous sampling from the language of F. Amirkhan's story "Hayat" and its translation into Russian by G. Khantemirova, act as the main unit of study. The dialectical unity of a literary work and its translation implies the mutual influence of two linguistic pictures of the world, two artistic systems, types of mentality, cultures and eras.

Literary text during translation often undergoes various translation transformations. We find the interpretation of the concept of translational transformation in many researchers. So, noting a certain metaphorical nature of the term “transformation” in the theory of translation, A. Schweitzer wrote: “In fact, we are talking about the relationship between the original and final language expressions, about replacing one form of expression with another in the process of translation, replacing which we figuratively we call transformation or transformation”, thus, translation transformations are essentially interlingual operations of “re-expression” of meaning” .

Translation transformation is such a process in translation, during which the system of meanings contained in the speech forms of the source text, perceived and understood by the translator due to his competence, is naturally transformed due to interlingual asymmetry into a more or less similar system of meanings, clothed in the forms of the target language .

The translator should strive to reproduce not only the content of the work and its figurative system, but also the originality of the worldview of the foreign-language author, his artistic and philosophical concept, and the features of his individual style.

The translator looks for a similarity in a sea of diversity, a similarity that can be reproduced.

adopted by a person of a different worldview, a different language, a different historical era. Numerous techniques and operations that a translator resorts to to establish such a similarity, together form a translation methodology, the mastery of which is necessary even for an exceptionally talented person who subtly feels all the smallest nuances of meanings, meanings, situations.

In literary translation, there is the greatest discrepancy between the equivalence and value of translation. What comes to the fore here is not the exact, literal reproduction of the content of the original, but the reproduction of its high literary merits, their expression by more or less equivalent or suitable means of the target language.

As you know, human cognitive activity includes an evaluative aspect, in which the subject, reflecting the objects and phenomena of reality, correlates them with past experience, compares them with a certain value scale, which are norms, standards, idealized models developed by society, as well as needs, desires and tastes of the individual. Axiological attitudes orient a person in social reality, direct and stimulate his activity. Evaluation as a socio-cultural category that reflects the historically established and socially fixed typified attitude of members of a linguistic community is based on linguistic forms, which are objectified forms of conceptual thinking. Linguistic assessment, as noted by L.A. Sergeeva, is a reflection of assessment as a logical and psychological phenomenon, "therefore, the solution to the problem of linguistic assessment is included in the context of the general problem of the relationship between linguistic and extralinguistic content of meaning and meaning" .

The relationship of evaluative vocabulary with the culture of a particular people is clearly detected

when comparing original works of art with their translations. The totality of abstract evaluative values forms a special dimension of the mental space in which objective reality is refracted in a specific way and a value-colored picture of the world is formed. Evaluation is considered by N.D. Arutyunova as an act of mental comparison of the actual properties of an object with their virtual (ideal) correlate, existing at the level of an “idealized model of the world” .

Every society has basic ethno-cultural concepts that make up the core layer of its spiritual culture. These concepts primarily include ethical and aesthetic concepts that set sustainable standards.

The object of aesthetic evaluation most often in the story “Hayat” is the appearance of the heroine, her extraordinary beauty: Matur bu kyznyts ozyn kerfekle kara kuzlere alsurak yvzene mogshchizaly yakutlar shikelle nur chechep torganlyktan, gYZel bashi, hatta bvten bue nurda yvze shikelle kurene ide. Her dark eyes, like magical yachts, shone from under long eyelashes, which made it seem that her lovely head, delicate white face, her whole figure were illuminated by this radiance.

This is the first description of Hayat given in the story, which presents comparisons traditionally used in the literature of the East when describing a beauty: associations with precious stones (in this case, Yakut, that is, sapphire, although the translator uses the word yahont) and a description of the radiance emanating from the heroine . The translator saves these images, concretizing them by adding details (delicate white face); in the original, in this case, there is no indication of the whiteness of the heroine's skin, but in the minds of the Tatar reader, already attuned to the traditional image of an oriental beauty, a standard set of signs of an oriental beauty is reproduced, among which, undoubtedly, there should be whiteness of the skin. Therefore, we can say that the translation addition draws a complete image of the beauty, making it possible to compensate for the missing background knowledge of the Russian reader. At the same time, the adjective with the general meaning of aesthetic assessment (matur bu kyznyts) is not preserved in the translation, but the general positive assessment of the heroine's appearance is conveyed completely due to the detailed description.

In the language of the story, a significant place is occupied by vocabulary expressing an aesthetic assessment; in the context of the work, adjectives that speak about the features of the characters' appearance are often

are given with a portrait description presented from the point of view of different characters. When translating, semantic transformations often occur: Yegetets yvz kyafete hem son of totyshy, portrait of kyrsetyene karaganda, bik svikemle ideler: achyk matsgay, kekreebrek

kilgen shakty kitz kashlar, ochlary yugaryga ka-ratylyp kuelgan kue hem ozyn myek hem kukragen kierelderebrek, eget symak torysh Heyatka mehebbetle kurendeler. The young man was not bad-looking: an open forehead, slightly curved broad eyebrows, a lush mustache curled up, a valiantly protruding chest. Hayat found him handsome.

Significant changes also occur in the translation of words expressing ethical assessment. Gazize abystay bu egetnets G. sheherendege Salih Fatikhov isemle yash bai, bik teyfshkly hem bik figurative keshe ikenchelegen svilede... . The concept of teUfiyk is one of the central ones in the ethical picture of the world of the Tatar people, syncretically expressing the highest values from the standpoint of the Muslim worldview - high morality, piety, modesty, kindness, etc. The absence in the Russian language of a similar concept, expressed by one lexeme, forces the translator to much narrow down, specify the meaning of the original sentence: This is Salih Fatikhov, the son of one of the bais of the city of G., a young man "very educated and with a good heart". When translating, the universal aspect of ethical meaning (kindness) is preserved, an additional factor of emotionality appears (the heart is connected with emotions), but the religious connotations are completely lost.

Evaluation of the character's actions in some cases can be expressed implicitly and only implied: Kunak kyz Kheyatnyts ana-sy Gazize abystay belen ike kullap kureshte de hezer Heyatny Yzlerene kunakka alyrga kiltenlegen svilede. Lisa greeted Hayat's mother, held out both hands to her, according to the Tatar custom, and cheerfully announced that she had come to take Hayat to her place on Sunday. In this case, we also find an addition in the translation (according to the Tatar custom), which explains why the heroine uses an unusual way of greeting - with two hands. This addition allows the reader to reproduce in his mind an indirect positive assessment of the Russian girl Liza, who knows and respects Tatar customs and etiquette.

The nature of the assessment can be associated with the distinction between absolute (good - bad) and relative (better, worse) signs, when translating

RUSSIAN LANGUAGE AND LITERATURE IN THE TURKISH-SPEAKING WORLD:

MODERN CONCEPTS AND TECHNOLOGIES

de characteristic feature of the evaluation expression is its intensification (strengthening) or de-intensification (weakening). Consider the following examples:

Ozatuchylar kaityp kitteler. Berer quarter shir kitkech, Lisa, kuzlaren kukke kuterep, yoldyzlarga svilegen symak kyyafet belen:

Heyat heather EYvelge Heyat tYgel, egetler al-dynda chitlyklanyrga bik yarata hoodie, -dip kuydy.

When they drove a block away, Lisa, looking up at the sky, spoke as if addressing the stars:

Khayat is no longer the same, she loves to flirt with young people very much.

In this case, the verbs chytlyklanu and flirt are formally dictionary correspondences, however, the components of their meaning do not completely coincide and the negative assessment in the Tatar verb is expressed more intensely than in the Russian word to flirt, which also implies some negative assessment of the heroine's behavior, but not very intense. - the desire to please someone with one's manners, behavior, to interest oneself; the Tatar verb implies a more explicit negative assessment of the behavior of a Muslim girl, the unacceptability of such behavior from a religious standpoint.

Heyat CYZ atsly hood zamannan uk Yzlerene gaybet satyp utyryrga kere torgan hatynnardan shulai ishetep kile ide . Hayat heard about kept women from women she knew who came to their house to gossip.

In this case, the pejorative ethical assessment is also more pronounced in the Tatar text (gaibet satyp utyryrga) and softened in translation (to gossip). According to the canons of Islam, a person's tendency to gossip is not only a significant drawback, but also a sin, listening to gossip is also a sin, this moment is implicitly reflected in the meaning of the Tatar word gaybet.

When translating vocabulary with an estimated value, in some cases morphological transformations also occur. Gazize abystai Lizany bik khvrmetlap kabul itte, lekin vatyk kyna ruscha tel belen, Heyatny atasy rvhsetennen head, andy “erak” shirge schibererge yakhshy-sonmy ikenen atzlatty. Gaziza-

Abystai greeted Liza cordially, but answered in broken Russian that it was inconvenient for her to let her daughter go so far without her husband's permission. When evaluating the actions of the heroine, F. Amirkhan used the verb yakhshysynmau, formed from the adjective yakhshy (good

neck). In Russian, there is no equivalent of this verb, so the word category of state is used in translation inconveniently. In translation, instead of a direct internal ethical assessment (not good), the feeling of embarrassment, embarrassment, awkwardness in front of an external observer is accentuated.

The evaluative vocabulary presented in the language of the story “Hayat” is very heterogeneous; in the context of the work, it is often not universal or fixed in the language system that is important, but evaluative adherent, speech, allocated only in the context. Consider the following example:

Bu fikerler arasynda berse bigrek kurky-nych ide: Heyat yashrek zamanynda bervakyt Gazize abystaydan elle kaisy mvftinets ury-ska gashyyk bulip, chukyngan kyzlary turysyn-da ishetken ide. ... the mother's story arose in her memory about the mufti's daughters, who, having fallen in love with non-believers, converted to Christianity.

In this context, the word urys, denoting a person by ethnicity, expresses an additional assessment, signaling serious cultural differences, since it also implies a confessional sign that has not yet been directly named - a Christian, which forces the translator to use not the neutral word Russian, but to use the replacement strategy (Gentile ) to compensate for the loss of meaning.

Often, when translating while maintaining the overall assessment (positive or negative), various semantic shifts occur.

Ul, nichek itep bulsa yes, bu mvkatdes kyzlar belen tanyshyrga karar birde. ... He decided by all means to get acquainted with these extraordinary girls.

Ele kypten tygel gene atsar mvkatdes bulip kurengen bu kalfakly kyzlar hezer inde bvten megnelaren shuydylar. These girls in kalfaks, who so recently seemed unusual to him, have now lost the halo of beauty in his eyes. According to the Tatar-Russian Dictionary, the lexeme mvkatdes is translated into Russian as sacred, holy, that is, it denotes a sign of sacredness, the highest perfection, when translating in both cases, G. Khantemirova used the adjective extraordinary, indicating only a sign of exclusivity, and this, on our opinion is quite reasonable.

Adequate transfer of the features of the form and content of a work of art, created

given in one language, using the means of another language is a task that requires knowledge, talent, and a lot of work from the translator. Working with literary texts, in which the depth of content and the refinement of form are organically combined with a pronounced national and cultural originality of world perception, requires special attention of the translator. Being a universal and applicable form of thought expression in all languages, evaluative vocabulary is still not always amenable to accurate and unambiguous translation from one language to another. As the material of the story “Hayat” by F. Amirkhan shows, when translating language units with an estimated value, various lexical-semantic transformations often occur, due to both proper linguistic and extra-linguistic reasons. Most often, various kinds of differentiation of the meaning of the original unit are carried out, concretization of the meaning; various methods of compensating for the meaning components lost during the translation are used, the background knowledge missing from the Russian-speaking reader is often replenished by increments in the translation text due to translation additions. Comparison of linguistic units with the estimated value in the language of the original

Language and translation makes it possible to see the most important differences in the Tatar and Russian linguistic cultures, allows you to more clearly present the system of value priorities of different linguistic communities.

The article was financially supported by the RFH grant 12-14-16017.

1. Schweitzer A. D. Translation theory: Status, problems, aspects. - M.: Nauka, 1988. - 364 p.

2. Garbovsky N. K. Translation theory: textbook. - M.: Mosk. state un-t, 2004. - 544 p.

3. Sergeeva L. A. Estimated meaning and categorization of evaluative semantics: an experience of interpretive analysis: author. thesis ... Dr. philol. Sciences. - Ufa, 2004. - 45 p.

4. Arutyunova N. D. Language and the human world. - M.: Languages of Russian culture, 1999. - 896 p.

5. Emirkhan F. Sailanma eserler. - Kazan: Tarikh, 2002. - T. 4. - 399 b.

6. Amirkhan F. Favorites. Stories and novels / trans. from Tatar G. Khantemirova. - M.: Hood. lit., 1975. - 320 p.

7. Tatar-Russian dictionary / ed. F. Ganiev. - Kazan: Tatar book publishing house, 2002. - 488 p.

TRANSLATION OF EVALUATIVE VOCABULARY (ON THE MATERIAL OF THE STORY OF F.AMIRKHAN "KHAYAT")

A.A.Aminova, A.M.Galieva

The paper deals with some features of translation of evaluative vocabulary on the material of the story of F.Amirkhan "Khayat". The nature and direction of translation transformations due to linguistic and ex-tralinguistic factors are revealed, is shown how the translator compensates for the components of meaning lost in the translation.

Key words: translation, evaluative vocabulary, F.Amirkhan.

Aminova Almira Askhatovna - Doctor of Philology, Professor of the Department of Theory of Literature and Comparative Studies, Kazan Federal University.

Email: [email protected]

Galiyeva Alfiya Makarimovna - Candidate of Philosophical Sciences, Associate Professor of the Department of Theory of Literature and Comparative Studies, Kazan Federal University.

LOST ILLUSIONS HAYAT

We were waiting for this premiere with special interest, since the script for it was written by Chelny journalist Ravil Sabyr. Upon learning that our colleague had written a play based on Fatih Amirkhan's story "Hayat", I immediately thought: "He is not looking for easy ways." After all, in order to take a swing at a dramatic rethinking of a well-known work of Tatar literature, you must agree, one must have a certain amount of courage and even audacity. If only because the story "Hayat", written by Fatih Amirkhan back in 1911, would seem to reflect the historical trends of "a different era."

Then, at the dawn of the 20th century, an educational movement of the Jadids arose, who saw their mission in "building" a spiritual bridge between the Eastern and European worlds - to overcome the political and religious rigidity that hinders the development of the Tatar people, and make a breakthrough towards civilization. Fatih Amirkhan is one of the prominent Jadids. His story "Hayat" is based on the story of the fate of a Tatar girl who, being inside a love triangle, made the wrong choice: having a heartfelt sympathy for the youngest of the Arslanov's sons - a handsome student, an adherent of Gali's Jadidism, due to fatal circumstances, she agrees to marriage to an older brother, Mullah Salih, "like a sick chicken." As conceived by the author, Khayat, choosing between brothers, rushes between the old and the new way of life. Is it possible to give "pre-revolutionary" passions a modern sound, we wondered, going to the premiere of the play "Hayat". It turned out yes.

This became possible largely due to the directorial find of Bulat Badriev - he gave the main role to an unprofessional artist Guzel Ismagilova. As the director himself said at a press conference, “there is a lot of naive, genuine in the image of Hayat, and to embody it on stage, I needed a girl who is not familiar with the basics of acting.” Despite the lack of acting practice, Guzel was able to show a rather complex “evolution” on stage - the transformation of an angular teenager into a real woman. There was even something Tolstoyan in her, from Natasha Rostova.

But, as you know, a good diamond needs an appropriate setting. This is exactly how Hayat's friends were perceived from the audience - the role of the sparkling Liza Chulpan Kazanli brought to perfection. And Enzhe Shigapova, playing the role of Amina, seems to have proved to all viewers that women's friendship still exists. However, the entire ensemble of actors played just as brilliantly - as in a well-coordinated orchestra, the “sound” of each of them was heard in the performance. The audience especially remembered Mustafa Rakhimov performed by Insaf Fakhretdinov, who played very convincingly!

I also remember the work of the production designer Rania Khairullina. Thanks to her creative concept, the scenery, which did not change at all throughout the entire production, easily "turned" either into the house of the merchant Gimadov, or into a merchant's club, or into the Volga coast. The scenery was dominated by two colors - blue and yellow. The first personified space and the infinity of the claims of a young soul, and yellow - a betrayal of these plans ... The fact that the scenery was perceived by the audience organically is also the merit of the composer and sound engineer Niyaz Tarkhanov, who "helped" our imagination, including alternately the sounds of the surf floating past a steamer with a gypsy camp on board, a departing crew ...

In addition, there were many details in the performance, clearly designed by the director's hand and helping the audience to feel the drama of this or that scene. Particularly impressive was the scene when Hayat scatters apples, having learned that instead of her beloved Gali, the miserable Salih will sit next to her on Nikakh ... An overturned basket with yellow apples has generally become a symbol of the play about the fate of a girl whose romantic aspirations were sacrificed to traditions. And, importantly, the father of the girl Burgan (artist Bulat Salyakhov) gives Hayat the right to choose her own future. However, the genetic bonds are stronger than the progressive views of the father and external circumstances...

Elvira Mukhametdinova. "Evening Chelny"